Mark Ziobro
1. “Jaws” — “Jaws” has been, in one shape or another, my favorite film since childhood. It’s remained on my radar as an adult, as I recognized its themes and staying power. The film, Spielberg’s first, is classic. It has haunting elements that allow it to fit in seamlessly as both a drama and a standard horror picture. The motley crew of  Brody (Roy Scheider), Quint (Robert Shaw), and Hooper (Richard Dreyfuss) work together in ways that hint at the deeper elements beneath the surface. “Jaws” is a story of trauma, growth, death, and re-birth. It’s all wrapped up in a taut, emotional picture that stands the test of time. It’s ocean backdrop only enhances the narrative, and Speilberg’s filmmaking choices elevate it to the status it deserves.
2. “Halloween” — In a sea of slasher/horror films that would become just that, “Halloween” will always to me be the quintessential film about fear. It’s not a film that is meta, or pokes fun at the genre. The film just frightens, and delivers some of the best horror build-ups of all time. Obviously Carpenter, with his debut, draws upon Hitchcock’s “Psycho” in his antagonism. But what really works about “Halloween” is you can feel this movie in your bones. Carpenter allows you to feel not just the fright, here, but the whole feeling of the town, of the characters, of Fall itself. His shots are mesmerizing. And in this film — and the creation of Michael Myers — he created a legend that wouldn’t die. I watch this at least once a year, and always will.
3. “Planes, Trains & Automobiles” — While a buddy comedy may seem odd on a ‘Best of all Time’ list, this movie is the exception. What John Hughes has done with this film is create a holiday film that you can watch year after year. However, you never grow tired of the funnier parts (its one-liners, its dysfunctional couple status), nor its deeper treasure. With what could have been a simple ‘bring the laughs’ formula, Hughes creates some of the best character development ever seen. This is coupled with takeaways and heart not usually given to comedies. When he brings the laughs you’ve never laughed harder. But the penultimate scene — as two men walk down a winter road carrying a steamer trunk — is one of the most touching payoffs in film. It only helps that given this is a Thanksgiving film, you can watch it easily year after year.
4. “It’s a Wonderful Life” — I don’t think a ‘Best Of’ list could be complete without this film, Frank Capra’s classic. It’s truly a remarkable work, even though I see that I am developing a holiday theme with this list. The stage-setting and cinematography is gorgeous. And casting Jimmy Stewart, Hitchcock’s go-to boy, as his protagonist, George Bailey, was a genius stroke. This is easily one of the earliest — if not the earliest — unfulfilled life stories. Its protagonist, George Bailey, however, faces it as duty, not prison. The emotions that build throughout, the ancient time period it paints, and the ‘what would life be like if…’ mantras have influenced dozens of films since. But underneath it all it’s a quaint, honest picture. Its closing scene is one that touches me every time I see it.
5. “Wall Street” — Oliver Stone’s sweeping ode to materialism, greed, and 1980’s New York City belongs on a list of the best American films. The film features Stone’s penchant for dialogue, and uses its protagonist (Charlie Sheen) and antagonist (Michael Douglas) to perfection. But while it is an indictment of ’80’s, yuppie greed, “Wall Street” may truly have no villain. Both Sheen and Douglas play off each other perfectly, and amidst it Stone paints NYC in visual and emotional splendor. Under that, he layers his characters well. Stone puts diverse value systems on display that come crashing head-first into each other. Coupled with a fitting soundtrack and intimate cinematography, “Wall Street” is one that stands the test of time.
6. “The Wind that Shakes the Barley” — Ken Loach’s epic is one of the best-made films about civil war. It’s a grand reproach of England’s barbaric authoritarianism in regards to Ireland. However, it’s also a stellar look at how fighting for independence can tear a country apart. Its acting — from Cillian Murphy to Liam Cunningham to Pádraic Delaney — is top of the line. But it’s also harrowing in how Loach paints the struggles of Ireland as they fight for control of their country. The most poignant parts of the film center around talks of making a better Ireland for all. But Loach focuses on how the freedom fighters are often sacrificing this for their chance at freedom. “The Wind that Shakes the Barley” is one of the best war films ever made. Loach paints the horror from all sides, and not in a neat package you can easily digest.
7. “GATTACA” — While wholly sci-fi in scope, Andrew Niccol’s “GATTACA” is one basked in the human spirit. It takes place in a time period where genetically inferior humans are relegated to grunt work while “superior” humans travel to space and explore (the chief goal of this film’s protagonist, played by Ethan Hawke). But the film includes more, and comments on belief in yourself, platonic love, and allowing people the right to dream. Both Ethan Hawke and his co-star Jude Law turn in spellbinding performances. Uma Thurman joins the cast also, and the three work well to give them film’s themes justice. But the film’s hallmark is the emotional way Niccol spins the narrative, and the thoughtfully-drawn bond between Law and Hawke. The final frames of the film bring the most emotion. It leaves in its wake a picture about humanity and accomplishment not easily forgotten.
8. “Bella” — Alejandro Monteverde’s “Bella” is the reason I love independent films. Alongside films with grand plots, monologue-worthy dialogues, and massive scopes, movies like this remind us why we are human. It is the story of a line cook with a tortured past and a pregnant-and-alone waitress who needs a friend. It’s also a NYC film, and takes us on a tour of the city that feels authentic and lived in. It’s also a film about love — and second chances — filmed in a way as to make these themes feel sublime. Its celebrates cultural heritage, and forgiveness, and its two leads José and Nina (Eduardo Verástegui, Tammy Blanchard) have wonderful chemistry together. “Bella” is so seamless, and filmed so intimately, that it truly feels that we are walking amidst José and Nina though the city streets, and not at all that we are watching a movie.
9. “Schindler’s List” — No ‘Best Of’ list would be complete without “Schindler’s List,” Spielberg’s crowning achievement. The story of Oskar Schindler (Liam Neeson), the Nazi slave profiteer who would forever become a hero for his actions during the Holocaust, is drawn out in fine, artistic lines, and told with the skill of a master storyteller. The film’s black and white presentation — with tiny snippets of color — help to propel the film. But the acting sells the picture. Liam Neeson, Ralph Fiennes, and Ben Kingsley turn in performances not to be topped. It’s a film about the horrors of the Nazi Germany, a film about forgiveness and redemption, and a film about taking actions that may make that impossible. A must-see for any lover of film.
10. “Good Will Hunting” — Readers can no doubt glean I love films about forgiveness and redemption. Gus van Sant’s 1997 Oscar-winning film launched the careers of Matt Damon and Ben Affleck, but it does more. It introduces us to Will Hunting (Damon), a 20-year-old forgotten trauma victim who only has his friends and a tough shell to protect him. But his chance encounter with a therapist (Robin Williams; his greatest career performance, in my opinion) allows him to explore his gift of extreme intelligence, forgive the past, and move on. The film’s shots are graceful, its soundtrack doleful and wondrous, and the chemistry between Damon and Williams profound. Its scenes are all there. But a steady shot as Williams entreats Will to forgive himself is one of the film’s most powerful. This feels like a Boston film, and sets it apart from its NYC counterparts.
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